Wolfgang Amadeus MOZART - musical works of Mozart Andante in C, K. 1a Allegro in C, K. 1b Allegro in F, K. 1c Minuet in F, K. 1d Minuet in G, K. 1e Minuet in C, K. 1f Minuet in F, K. 2 Allegro in B-flat, K. 3 Minuet in F, K. 4 Minuet in F, K. 5 Allegro in C, K. 5a Andante in B-flat, K. 5b Piano Sonata No. 1 in C major, K. 279 (Munich, Summer 1774) Piano Sonata No. 2 in F major, K. 280 (Munich, Summer 1774) Piano Sonata No. 3 in B-flat major, K. 281 (Munich, Summer 1774) Piano Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774) Piano Sonata No. 5 in G major, K. 283 (Munich, Summer 1774) Piano Sonata No.

6 in D major, K. 284 (Munich, Feb-Mar 1775) Piano Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777) Piano Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778, some catalogues have the a minor and D Major reversed) Piano Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777. some catalogues have the a minor and D Major reversed) Piano Sonata No. 10 in C major, K. 330 (Summer 1778) Piano Sonata No. 11 "Turkish" in A major, K. 331 (Summer 1778) Piano Sonata No. 12 in F major, K. 332 (Summer 1778) Piano Sonata No. 13 in B-flat major, K. 333 (Summer 1778) Piano Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784,) Piano Sonata No.

15 in F Major, K. 533/494 (Vienna, Jan. 3, 1788) Piano Sonata No. 16 in C Major, K. 545 (so-called facile or semplice sonata; Vienna, Jun. 26, 1788) Piano Sonata No. 17 in B-flat Major, K. 570 (Vienna, February, 1789) Piano Sonata No. 18 in D Major K. 576 (Vienna, July 1789) Fantasy No. 1 with Fugue in C major, K. 394 (Vienna, 1782) Fantasy No. 2 in C minor, K. 396 (Vienna, 1782) Fantasy No. 3 in D minor, K. 397 (Vienna, 1782) Fantasy No. 4 in C minor, K. 475 (Vienna, May 20, 1785) Rondo No. 1 in D major, K. 485 Rondo No. 2 in F major, K.

494 (finale to K.533 above initially published alone) Rondo No. 3 in A minor, K. 511 Adagio for Piano in B minor, K. 540 (Vienna, 1788) Allegro and Rondo for piano in F Major, K. 547a (Vienna, Summer 1788) (adapted from K. 547 and K. 545) Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765) Sonata for Keyboard Four-hands in D major, K. 381 / 123a Sonata for Keyboard Four-hands in B flat major, K. 358 / 186c Sonata for Keyboard Four-hands in F major, K. 497 Sonata for Keyboard Four-hands in C major, K. 521 Sonata for Keyboard Four-hands in G major, K. 357 (incompleted) Sonata for Two Pianos in D Major, K. 448 / 375a Fugue for Two Pianos in C minor, K.

426 He also wrote for piano and violin (16 complete sonatas, plus several fragments and two variation sets), where - mainly in the more mature years - the piano does not play just a support to the other solo instrument, but builds a dialogue with it. Violin Sonata No. 1 in C major, K. 6 Violin Sonata No. 2 in D major, K. 7 Violin Sonata No. 3 in B flat major, K. 8 Violin Sonata No. 4 in G major, K. 9 Violin Sonata No. 5 in B flat major, K. 10 Violin Sonata No. 6 in G major, K. 11 Violin Sonata No. 7 in A major, K. 12 Violin Sonata No. 8 in F major, K. 13 Violin Sonata No. 9 in C major, K. 14 Violin Sonata No. 10 in B flat major, K. 15 Violin Sonata No. 11 in E flat major, K. 26 Violin Sonata No. 12 in G major, K. 27 Violin Sonata No. 13 in C major, K. 28 Violin Sonata No. 14 in D major, K.

29 Violin Sonata No. 15 in F major, K. 30 Violin Sonata No. 16 in B flat major, K. 31 Violin Sonata No. 17 in C major, K. 296 Violin Sonata No. 18 in G major, K. 301 Violin Sonata No. 19 in E flat major, K. 302 Violin Sonata No. 20 in C major, K. 303 Violin Sonata No. 21 in E minor, K. 304 Violin Sonata No. 22 in A major, K. 305 Violin Sonata No. 23 in D major, K. 306 Violin Sonata No. 24 in F major, K. 376 Violin Sonata No. 25 in F major, K. 377 Violin Sonata No. 26 in B flat major, K. 378 Violin Sonata No. 27 in G major, K. 379 Violin Sonata No. 28 in E flat major, K. 380 Violin Sonata No. 29 in A major, K. 402 (completed by M.

Stadler) Violin Sonata No. 32 in B flat major, K. 454 Violin Sonata No. 33 in E flat major, K. 481 Violin Sonata No. 35 in A major, K. 526 Violin Sonata No. 36 in F major, K. 547 Variations in G major, K. 359, "La bergere Celimene" 6 Variations in G minor on Helas, j'ai perdu mon amant, K. 360 Duo for Violin & Viola in G major, K. 423 Duo for Violin & Viola in B flat major, K. 424 Trio for Violin, Viola & Cello in E flat major, K. 563 (1788) Trio for 2 Violins & Cello in B flat major, K. 266 Preludes and Fugues for Violin, Viola & Cello, K. 404a Quartetti Milanesi, K. 80 and K.

155-160 (1770-1773) This cycle, in three movements, is interesting as far as these works can be considered precursors of the later - more complete - string quartets. String Quartet No. 1 in G major, K. 80/73f (1770) String Quartet No. 2 in D major, K. 155/134a (1772) String Quartet No. 3 in G major, K. 156/134b (1772) String Quartet No. 4 in C major, K. 157 (1772-3) String Quartet No. 5 in F major, K. 158 (1772-3) String Quartet No. 6 in B-flat major, K. 159 (1773) String Quartet No. 7 in E-flat major, K. 160/159a (1773) Vienna Quartets, K. 168-173 (1773) + Much more stylistically developed. In Vienna Mozart is believed to have heard the op.

17 and op. 20 quartets of Joseph Haydn, and had received from them a deep impression. Even if Mozart tries in these works to emulate the older musician, he still cannot reach Haydn's heights in the most difficult of all the musical genres. String Quartet No. 8 in F major, K. 168 (1773) String Quartet No. 9 in A major, K. 169 (1773) String Quartet No. 10 in C major, K. 170 (1773) String Quartet No. 11 in E-flat major, K. 171 (1773) String Quartet No. 12 in B-flat major, K. 172 (1773) String Quartet No. 13 in D minor, K. 173 (1773) Haydn Quartets K.

387, 421, 428, 458, 464, 465, Opus 10 (1782–1785) Mozart returned to the quartet in the early 1780s after he had moved to Vienna, met Haydn in person, and developed a friendship with the older composer. Haydn had just published his set of six quartets Opus 33, which are thought to have been a stimulus to Mozart in returning to the genre. These quartets are often regarded as among the pinnacles of the genre. String Quartet No. 14 in G major, ("Spring") K. 387 (1782) String Quartet No. 15 in D minor, K. 421/417b (1783) String Quartet No. 16 in E-flat major, K. 428/421b (1783) String Quartet No. 17 in B-flat major ("Hunt"), K. 458 (1784) String Quartet No. 18 in A major, K.

464 (1785) String Quartet No. 19 in C major ("Dissonance"), K. 465 (1785) String Quartet No. 20 in D major ("Hoffmeister"), K. 499 (1786) This work was published by (dedicated to?) Franz Anton Hoffmeister, as well as the Prussian Quartets. Mozart's last three quartets, dedicated to the King of Prussia Friedrich Wilhelm II, are noted for the cantabile character of the parts for cello (the instrument played by the king himself), the sweetness of sounds and the equilibrium among the different instruments. Prussian Quartets K. 575, 589, 590 (1789-1790) String Quartet No. 21 in D major, K. 575 (1789) String Quartet No. 22 in B-flat major, K. 589 (1790) String Quartet No. 23 in F major, K. 590 (1790) The string quintets (K.

174, 406, 515, 516, 593, 614), for two violins, two violas and cello. Charles Rosen wrote that "by general consent, Mozart's greatest achievement in chamber music is the group of string quintets with two violas."[1]. String Quintet in B flat major, K. 174 String Quintet in C major, K. 515 String Quintet in G minor, K. 516 String Quintet in C minor, K. 406 (516b) This is a transcription for string quintet of the earlier Serenade for wind octet in C minor (K. 388). String Quintet in D major, K. 593 String Quintet in E flat major, K. 614 Piano Trio in B flat, K. 254 Piano Trio in G, K. 496 Piano Trio in B flat, K. 502 Piano Trio in E, K. 542 Piano Trio in C, K. 548 Piano Trio in G, K.

564 Flute Quartets (flute, violin, viola, cello) K. 285, 285a, 285b, 298 (1777–1778) Oboe Quartet in F, K. 370 Horn Quintet In E Flat, K. 407 Quintet for piano and winds (oboe, clarinet, horn, bassoon) K. 452 (1784) Piano Quartets K. 478 (1785) and K. 493 (1786) Trio for Clarinet, Viola and Piano in E flat major, K. 498 "Kegelstatt" (1786) Clarinet Quintet in A major, K. 581 (1789) The production for instrumental ensembles includes several Divertimenti, Notturni, Serenades, Cassations, Marches, and Dances, besides, of course, the Symphonies. Mozart's production for orchestra is written for string ensembles (like the early Divertimenti K.

136–138), as well as for wind instruments ensembles and the varied combinations of string and wind. Mozart left a huge production of dances for orchestra, including the genres of Minuetto (more than 100), Contredanse and Allemande (or Teitsch, or Laendler). In his production of minuets, Mozart generally followed Haydn's example, preferring the slow character of the dance. Allemandes (56 between 1787 and 1791) were written mainly for public balls in Vienna. In the Contredanse production, also written mainly in Vienna, some examples of program music are found, like Il Temporale K. 535, La Bataille K. 600, Canarino K. 602, etc. Serenade No. 1 in D major, K. 100 Serenade No. 3 ("Antretter") in D major, K. 185 Serenade No. 4 ("Colleredo") in D major, K. 203 Serenade No. 5 in D major, K. 204 Serenade No.

6 ("Serenata Notturna") in D major, K. 239 Serenade No. 7 ("Haffner") in D major, K. 250 Serenade No. 9 ("Posthorn") in D major, K. 320 Serenade No. 10 for winds (Serenade for Thirteen Wind Instruments or "Gran Partita") in B flat major, K. 361 Serenade No. 11 for winds in E flat major, K. 375 Serenade No. 12 for winds in C minor, K. 388 Serenade No. 13, "Eine kleine Nachtmusik" for String Quartet & Bass in G major, K. 525 Gallimathias Musicum (Quodlibet), K. 32 (1766) Cassation in G, K. 63 (1769) Cassation in B flat, K. 99 (1769) Divertimento in E flat, K. 113 (1771) Divertimento in D, K. 131 (1772) Divertimenti, K.

136-138 (1772) Although sometimes described as string quartets, they are almost certainly for strings with double bass and are like Sinfonias in the Italian style. Divertimento in D, K. 205 (1773) Divertimento in F "Lodron", K. 247 (1776) Divertimento in D, K. 251 (1776) Notturno in D for Four Orchestras, K. 286 (1776-77) Divertimento in B flat "Lodron", K. 287 (1777) Divertimento in D, K. 334 (1779-80) Divertimento for two horns and strings, A Musical Joke, (Ein Musikalischer Spaß,) K. 522 Mozart's sacred music is mainly vocal, though also instrumental examples exist, like the Sonate da Chiesa for 2 violins, double bass and organ, composed between 1767 and 1780.

Mozart's sacred music presents a rich stylistic mosaic: Gregorian choral elements meet rigorous counterpoint, and even operatic elements can sometimes emerge. Stylistic unity and consistency is present over all his sacred music work. We include in this genre, for their liturgical character, also the compositions written for the Masonic Lodge, like The Cantata Laut Verkunde unsre Freude K623 and the Maurerische Trauermusik (Masonic Funeral Music) K477. Mass No. 1 ("Missa brevis") in G major, K. 49 Mass No. 2 ("Missa brevis") in D minor, K. 65 Mass No. 3 in C major (Dominicusmesse), K. 66 Mass No. 4 ("Missa solemnis") in C minor, K. 139 Mass No. 5 ("Missa brevis") in G major, K. 140 Mass No. 6 ("Missa brevis") in F major, K. 192 Mass No. 7 in C major (Missa in honorem Sanctissimae Trinitatis), K. 167 Mass No.

8 ("Missa brevis") in D major, K. 194 Mass No. 9 ("Missa brevis") in C major (Spatzenmesse), K. 220 Mass No. 10 ("Missa brevis") in C major ("Credo" Mass), K. 257 Mass No. 11 in C major (Spaurmesse or Piccolomissa), K. 258 Mass No. 12 ("Missa brevis") in C major ("Organ Solo"), K. 259 Mass No. 13 ("Missa longa") in C major, K. 262 Mass No. 14 ("Missa brevis") in B flat major, K. 275 Mass No. 15 in C major ("Coronation"), K. 317 Mass No. 16 ("Missa solemnis") in C major (Missa aulica), K. 337 Mass No. 17 in C minor ("Great"), K. 427 Requiem Mass in D minor, K. 626 (completed by Franz Xaver Süssmayr after Mozart's death) Exsultate, jubilate, K.

165 Ave verum corpus, K. 618 Te Deum, K. 141 Regina Coeli for soprano, chorus and orchestra, K. 108 Regina Coeli for soprano, chorus and orchestra, K. 127 Regina Coeli for soloists, chorus and orchestra, K. 276 Die Schuldigkeit des ersten Gebotes, K. 35 (1767) Apollo et Hyacinthus, K. 38 (1767) In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus. Bastien und Bastienne, K. 50=46b (1768) With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination. La finta semplice, K. 51 (1768) La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre. Mitridate, re di Ponto, K.

87 (1770) Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking. Ascanio in Alba, K. 111 (1771) Betulia Liberata, an oratorio, K. 118=74c (1771) On the subject of Judith and Holofernes. Il sogno di Scipione, K. 126 (1772) Lucio Silla, K. 135 (1772) Thamos, König in Ägypten (1773, 1775) La finta giardiniera, K.

196 (1774-5) With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition. Il re pastore, K. 208 (1775) Zaide, K. 344 (1779) Idomeneo, K. 366 (1781) Die Entführung aus dem Serail, K. 384 (1782) After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte. L'oca del Cairo, K. 422 (1783) Lo sposo deluso, K. 430 Der Schauspieldirektor, K. 486 (1786) Le nozze di Figaro, K.

492 (1786) Le nozze di Figaro, the first of the three great operatic works, all belonging to the opera buffa genre (though the Don Giovanni obviously involves tragic elements), that Mozart composed with libretto by Lorenzo da Ponte. Le nozze di Figaro was taken from the comedy Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success. Don Giovanni, K. 527 (1787) The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women. Così fan tutte, K.

588 (1789) Die Zauberflöte, K. 620 (1791) Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. It also achieved scarce success at its first performance. Nevertheless its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry. La clemenza di Tito, K. 621 (1791) Bardengesang auf Gibraltar: O Calpe! Dir donnert's am Fusse (song fragment) Leck mich im Arsch K. 231 (1782) Die Zufriedenheit K.

367a (1781) Wolfgang Amadeus Mozart - Biography Wolfgang Amadeus Mozart Born: January 27, 1756 - Salzburg Died: December 5, 1791 - Vienna Of the 41 symphonies that Mozart wrote, only two are in a minor key, both of which are in g minor (Symphony 25 & 40). Mozart's music was often criticized as being too complex and "having too many notes." Mozart was known to take familiar musical lines from one piece of music and insert them into another piece of music. Mozart Family Background: On November 14, 1719, Mozart's father, Leopold, was born. Leopold attended Salzburg Benedictine University and studied philosophy, but later he was expelled due to poor attendance. Leopold, however, became proficient in violin and organ. He married Anna Maria Pertl on November 21, 1747. Of the seven children they had, only two survived, Maria Anna (1751) and Wolfgang Amadeus (1756).

Mozart's Childhood: When Wolfgang was four (as noted by his father in his sister's music book), he was playing the same pieces as his sister. continue reading below our video 5 Classic Novels Everyone Should Read At the age of five, he wrote a miniature andante and allegro (K. 1a and 1b). In 1762, Leopold took the young Mozart and Maria Anna on tour throughout Vienna performing for nobles and ambassadors. Later in 1763, they began a three-and-a-half year tour throughout Germany, France, England, Switzerland, and other countries. Mozart's Teenage Years: Amid the many tours, Mozart wrote music for a number of occasions. In 1770, Mozart (only 14) was commissioned to write an opera (Mitridate, re di Ponto) by that December. He began work on the opera in October, and by December 26, after eight rehearsals, the show was performed. The show, which included several ballets from other composers, lasted six hours. To much of Leopold's surprise, the opera was a huge success and was performed 22 more times.

Mozart's Early Adult Years: In 1777, Mozart left Salzburg with his mother to search for a higher paying job. His travels lead him to Paris, where unfortunately, his mother became deathly ill. Mozart's efforts to find a better job were unfruitful. He returned home two years later and continued working in the court as an organist with accompanying duties rather than a violinist. Mozart was offered an increase in salary and generous leave. Mozart's Mid Adult Years: After the successful premier of the opera Idomenée in Munich in 1781, Mozart returned to Salzburg. Wanting to be released from his job as court organist, Mozart met with the archbishop. In March of 1781, Mozart was finally released from his duties and began working freelance. A year later, Mozart gave his first public concert consisting entirely of his own compositions. Mozart's Late Adult Years: Mozart married Constanze Weber in July of 1782, despite his father's constant disapproval. As Mozart's compositions flourished, his debts did too; money always seemed a bit tight for him. In 1787, Mozart's father died.

Mozart was deeply affected by the passing of his father, which can be seen in a lull in new compositions. Less than four years later, Mozart died of miliary fever in 1791. Selected Works by Mozart: Mozart - How many works did he write? Mozart - How many works did he write? Welcome to Talk Classical - A community covering every aspect of classical music! You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. By joining our community you will have access to post topics, upload content and access many other features. Registration is absolutely free so please, join our classical music forums ! If you have any problems with the registration process or your account login, please contact us . Mozart - How many works did he write? Hello, I want to know how many compositions were written by W. A. Mozart. I know there were in the first Koechel catalog 626, but there are still more for instance K 1b. I would be glad if you can give me the right answer. Thank you and I wish you a nice time.

Pierre Riedhammer 46 According to some people at this forum and elsewhere, Mozart didn't really write anything. You see, the institution we call "Mozart" is actually the focal point of the greatest conspiracy and cover-up in European history. As noblemen had nothing better to do at the time, they used the "Mozart Label" as a front for works of unknown composers who sat in dark attics and laboriously and piously produced beautiful works for which they knew they would never receive due credit. They did this because the mere thought of knowing that their music would be played somewhere and sometime was enough, and the fact that it would be played under the exalted name of "Mozart", that little monkey-boy who never actually wrote a single note, was icing on the cake. So I ask: what is more farfetched? 1. All the political-powers-that-be in Europe at the time conspired for years and years to keep this machine rolling, even though the life of one composer/servant was of no political or economical consequence whatsoever. 2. There was a genius composer named Mozart who wrote all of this music. You decide.

Likes (Received) 12 Well, the above answer by Kurkikothaus is of course very simplistic. People are conditioned to believe virtually any sort of nonsense these days, and we can even say critics are the ones making the nonsense. Such things are 'par for the course'. But make the effort. See for yourself. The fact is (and I think the evidence entirely supports it) that Mozart, at each and every stage of his 35 year life was being supplied music he never actually wrote but which he (sometimes) re-arranged and claimed as his own. In his case (and in that of Joseph Haydn - the other character in the mythical creation of the '1st Viennese School') these things were done for political and other reasons. By rich and powerful patrons. Vienna needed propaganda. It invented the myth of Mozart and Haydn's musical genius. It took time. But they achieved it. And that real contributions of countless Italian, Bohemian and other composers was, well, politely airbrushed out of history. That is exactly the case with Luchesi. For example.

According to various sources the first 20 symphonies by Mozart (with one exception) have no more evidence in support of him being their true composer than they do of you or I being their true composer. We have, in his childhood, so many examples of exaggeration and fakery that it would be a brave man who would deny it. We could take the entire Koechel catalogue if you like. But if we do so, let it be agreed that we apply the same fair standards of criticism to these works as we would to that of any other composer. There ! Is that fair or not ? I accept such a challenge. But that is exactly what is refused by the 'Mozart establishment'. You therefore have little choice but to consume great meals of mythology, rarely questioning whether it is founded on fact or only on science-fiction. Symphonies. concertos and other works are recorded and commercially sold as 'Mozart' which he never wrote - even, many cases, known by the very professionals who record them. The youth and early adulthood of Mozart (a time when he father was still faking lots of music for his son and arranging others to provide it for him) was hardly different.

In his Vienna career we start to move in to some completely preposterous assumptions. We assume (because it's tradition) that Mozart wrote the 'Marriage of Figaro' in 6 weeks. This. according to his librettist (supposed) Lorenzo da Ponte. (And Mozart did NOT compose the opera 'Die Entfhurung aus dem Serail). In fact, this 6 weeks for the composotion of 'Figaro' is blatantly untrue. And there is not a shred of evidence Mozart was commissioned by anyone to write this work, let alone that Da Ponte had the skill, experience or permission from the Vienna censors to write its libretto. Yet we accept it. The same is true of many, many, many works of the 'mature Mozart'. Take for example the piano concertos. Or the string quartets dedicated to Haydn. Or the later operas. Or take the Clarinet Concerto. Or take the Requiem. Or take the motet 'Ave Verum Corpus'. Or take the Violin Concertos. Or take the masses. Or take the sonatas. Or take the serenades. Or take whatever you please.

In each and every case (and for many reasons) we are talking here about fakery, deception and downright falsehood on a huge, a massive scale. One of the abiding myths of our western civilization - the 'precocious genius of Mozart'. This body of music today labelled as 'Mozart' IS beautiful - indisputably so - for the most part. But only a lazy person would tolerate attributing it to Mozart - since he, in fact, can be shown to have benefitted all his life from lies and deception. The truth is (and there is really no doubt about it) most works by 'Mozart' were NOT, in fact, by Wolfgang Amadeus Mozart. But it helps the Vienna tourist industry to disagree and it helped the Holy Roman Empire to claim him and his 'genius' as 'one of ours'. It also helps sale of a local chocolate company. And if anyone questions the myth, well, let it be insisted that he has presented 'no evidence'. Honestly, I suppose some people simply cannot get their heads around the truth.

No, must seek for the origins of Haydn and Mozart's works and of the '1st Viennese School' in a whole series of composers including such lesser known names as Sammartini, Luchesi, Myslivececk, Michael Hadyn, and others including Gossec etc. Ask any musicologist - the 18th century was notorious for works being falsely traded and falsely attributed. Mozart is simply the best, most blatant example. Shocking but true ! But if you want a list of a few dozen 'Mozart' works that would help to illustrate the point, please ask. I will be happy to provide details, one by one. The biographical details we have of Mozart were, to a great extent, fabricated by his widow and by others party to this ongoing scam. So, in answer to the question of how many works Mozart actually wrote, my answer is that it is (as everyone now appreciates) far, far, far fewer than dogmatists claim. So few, in fact, that it is perhaps at most 50 works, none of them of much value. But let me leave you with something you can check yourself.

In the surviving musical score copy from Vienna of the Symphony KV444 (previously attributed to Mozart by 'Mozart experts at the Mozarteum') and known till 1908 as Symphony No. 37 (till it was finally attributed to Michael Haydn) we have a page or so of a slow introduction to the 1st movement of that same piece, composed in the hand (indisputably) of Mozart himself. Listen to this indisputably Mozartean slow introduction, written by Mozart beyond reasonable doubt. It is filled with errors, ugly chord progressions and crudities. There is your REAL Mozart. And if you can tell me that Mozart did not write this slow introduction. fine, you will save him from one of a million criticisms. I give this as one simple example. If you have an email address I can even send you an electronic version of these same introductory bars of music. Can't do better than that can I ? Regards 12 Dear Lalla, Thanks for your reply, which I might describe as an extended exclamation mark. If the comments made in that short post are insulting to the reputations of Joseph Haydn and W.A. Mozart, so be it.

But there is a point where one, after making extensive research, and after giving the 'benefit of the doubt' to tradition, may come to realise, to believe, and even to assert that much of what we have been taught of Mozart, his life and his musical achievements is, in fact, moonshine. If you would be so kind as to forward me your email address I will send you an electronic copy of the slow introduction your hero wrote to KV444 (formerly known as Symphony No. 37), so that you can judge yourself, from documentary evidence, whether this man, this 'prodigy of nature' was the musical genius that tradition (to say nothing of dogmatism) claims. We are dealing here with fakery. It seems to me quite reasonable that in such a case what are needed are fair, open, and honest discussions on this issue and not insults or evasion. If you agree that such standards must be used to judge any issue, then, fine. The life, career and musical achievements of W.A. Mozart are one of the great myths of western civilization. It may be (though I don't say it is so) that civilizations cannot exist without a body of myths.

Of things believed which we would not normally allow ourselves to believe, but which we do so, because it has always been believed. I think that in Mozart we have just such a case. Regards 12 Dear Navneeth, Thanks for the above comment. Yes, I agree that I and other researchers (of which there are now more than a few) may be wrong. But I do not think we are wrong. In fact, during the past several years it has been a rare thing to discuss any specific issue with 'experts' in this area, who have as core assumptions things which are little more than traditions. Since we do best to discuss evidence (rather than fall in to the error of trading insults) I wonder if any reader of this thread would care to ask the following 7 questions of any MozartForum online in respect of, say, the work today known as KV444. Dear Mozart Forum Members, Please can you comment on the following - 1. That up until the early 20th century the leading centre of Mozart study (and those who used it as a resource) described KV444 as a symphony composed by W.A. Mozart. 2.

That KV444 (known during this time as 'Mozart Symphony No. 37') is not, in fact, a symphony by W.A. Mozart 3. That KV444 is actually, today, (according to the same experts) a symphony composed by Michael Haydn. 4. That W.A. Mozart had in his possession at the time of his death a copy of KV444 which was attributed by Koechel and other writers (mistakenly) to Mozart. 5. That W.A. Mozart definitely worked on this symphony since, amongst other things, he wrote a slow introduction to the first movement in his own hand. 6. That, in fact, the slow introduction that Mozart wrote for this same work is of very poor musical content, riddled with musical errors, and begging an explanation. and finally - 7.

That the leading publication for study of Mozart's manuscripts (the 'Koechel' catalogue - published privately) has, until this day, been highly selective in repeatedly omitting to tell us of surviving early copies of 'Mozart' symphonies held at places such as Regensburg, and, again at Modena, whose very existence and whose content would otherwise call in to question the automatic attribution of those works to Mozart. (Namely, Symphonies 31, 38, and 41 respectively). In the interests of truth I would grateful if somebody would post the above 7 points to a major Mozart Forum online, so that we can judge the quality of the responses to them. That would do as much for fairness and honesty as we might hope. Regards 40 Originally Posted by robert newman Well, the above answer by Kurkikothaus is of course very simplistic. People are conditioned to believe virtually any sort of nonsense these days, and we can even say critics are the ones making the nonsense. Such things are 'par for the course'. But make the effort. See for yourself.

The fact is (and I think the evidence entirely supports it) that Mozart, at each and every stage of his 35 year life was being supplied music he never actually wrote but which he (sometimes) re-arranged and claimed as his own. In his case (and in that of Joseph Haydn - the other character in the mythical creation of the '1st Viennese School') these things were done for political and other reasons. By rich and powerful patrons. Vienna needed propaganda. It invented the myth of Mozart and Haydn's musical genius. It took time. But they achieved it. And that real contributions of countless Italian, Bohemian and other composers was, well, politely airbrushed out of history. That is exactly the case with Luchesi. For example. According to various sources the first 20 symphonies by Mozart (with one exception) have no more evidence in support of him being their true composer than they do of you or I being their true composer. We have, in his childhood, so many examples of exaggeration and fakery that it would be a brave man who would deny it. We could take the entire Koechel catalogue if you like.

But if we do so, let it be agreed that we apply the same fair standards of criticism to these works as we would to that of any other composer. There ! Is that fair or not ? I accept such a challenge. But that is exactly what is refused by the 'Mozart establishment'. You therefore have little choice but to consume great meals of mythology, rarely questioning whether it is founded on fact or only on science-fiction. Symphonies. concertos and other works are recorded and commercially sold as 'Mozart' which he never wrote - even, many cases, known by the very professionals who record them. The youth and early adulthood of Mozart (a time when he father was still faking lots of music for his son and arranging others to provide it for him) was hardly different. In his Vienna career we start to move in to some completely preposterous assumptions. We assume (because it's tradition) that Mozart wrote the 'Marriage of Figaro' in 6 weeks. This. according to his librettist (supposed) Lorenzo da Ponte. (And Mozart did NOT compose the opera 'Die Entfhurung aus dem Serail).

In fact, this 6 weeks for the composotion of 'Figaro' is blatantly untrue. And there is not a shred of evidence Mozart was commissioned by anyone to write this work, let alone that Da Ponte had the skill, experience or permission from the Vienna censors to write its libretto. Yet we accept it. The same is true of many, many, many works of the 'mature Mozart'. Take for example the piano concertos. Or the string quartets dedicated to Haydn. Or the later operas. Or take the Clarinet Concerto. Or take the Requiem. Or take the motet 'Ave Verum Corpus'. Or take the Violin Concertos. Or take the masses. Or take the sonatas. Or take the serenades. Or take whatever you please. In each and every case (and for many reasons) we are talking here about fakery, deception and downright falsehood on a huge, a massive scale. One of the abiding myths of our western civilization - the 'precocious genius of Mozart'. This body of music today labelled as 'Mozart' IS beautiful - indisputably so - for the most part.

But only a lazy person would tolerate attributing it to Mozart - since he, in fact, can be shown to have benefitted all his life from lies and deception. The truth is (and there is really no doubt about it) most works by 'Mozart' were NOT, in fact, by Wolfgang Amadeus Mozart. But it helps the Vienna tourist industry to disagree and it helped the Holy Roman Empire to claim him and his 'genius' as 'one of ours'. It also helps sale of a local chocolate company. And if anyone questions the myth, well, let it be insisted that he has presented 'no evidence'. Honestly, I suppose some people simply cannot get their heads around the truth. No, must seek for the origins of Haydn and Mozart's works and of the '1st Viennese School' in a whole series of composers including such lesser known names as Sammartini, Luchesi, Myslivececk, Michael Hadyn, and others including Gossec etc. Ask any musicologist - the 18th century was notorious for works being falsely traded and falsely attributed. Mozart is simply the best, most blatant example. Shocking but true !

But if you want a list of a few dozen 'Mozart' works that would help to illustrate the point, please ask. I will be happy to provide details, one by one. The biographical details we have of Mozart were, to a great extent, fabricated by his widow and by others party to this ongoing scam. So, in answer to the question of how many works Mozart actually wrote, my answer is that it is (as everyone now appreciates) far, far, far fewer than dogmatists claim. So few, in fact, that it is perhaps at most 50 works, none of them of much value. But let me leave you with something you can check yourself. In the surviving musical score copy from Vienna of the Symphony KV444 (previously attributed to Mozart by 'Mozart experts at the Mozarteum') and known till 1908 as Symphony No. 37 (till it was finally attributed to Michael Haydn) we have a page or so of a slow introduction to the 1st movement of that same piece, composed in the hand (indisputably) of Mozart himself. Listen to this indisputably Mozartean slow introduction, written by Mozart beyond reasonable doubt.

It is filled with errors, ugly chord progressions and crudities. There is your REAL Mozart. And if you can tell me that Mozart did not write this slow introduction. fine, you will save him from one of a million criticisms. I give this as one simple example. If you have an email address I can even send you an electronic version of these same introductory bars of music. Can't do better than that can I ? Regards 12 Well Manuel, with arguments such as yours who needs evidence one way or the other ? To suggest that Mozart's career was faked is simply to suggest the truth. A truth repeatedly documented in piece after piece - as has several times been indicated on this thread alone. So far, we see only schoolboy replies that the recipe for Coca Cola came from a UFO etc ! Perhaps you would care to tell us whether Mozart is really the composer of the following two works and why you believe so - 1) Opera 'La Finta Semplice' 2) Oratorio 'La Betulia Liberata' Or perhaps I can give you a dozen more ? Either way, a discussion is a great idea.

Regards Likes (Received) 12 Well, it would be great if this issue was covered by just one article online (as you seem to suggest). It isn't. It covers the entire life and career of Mozart - a subject so large that we can only hope to discuss aspects of it here (if you so choose). But I notice that you have no appetite for any meaningful discussion on KV444, the Oratorio, or the Opera. Nor of the symphonies such as 31, 35, 38, 39, 40 or 41. You say that things can be twisted in an online discussion. Sure. They can be even more twisted if we hear only one side of an issue. The side you happen to know a little of. But you clearly have nothing to offer in all of the above cases. You are, in fact, a consumer of the Mozart myth. And that is no bad thing - till you begin to say that any discussion is pointless. In such a case you show that you have no real interest in fair and open discussion. Fine. But that's confirmed by your last post.

Regards Likes (Received) 12 Of course the argument is not against ordinary Mozart lovers, who accept what is given to them in countless books, articles and films etc. They have no reason to suppose otherwise. But the general public have a right to know there are now two flatly different views about Mozart and his true career. They can judge for themselves on the evidence presented and on the attitudes of both parties. That is the best we can do here. Year after year the 'experts' simply refuse to get in to serious dicussion on the actual evidence. That's lesson number 1. Regards Mozart - Composers - Classic FM Classic FM Wolfgang Amadeus Mozart (1756–1791) Biography Johannes Chrystostomus Wolfgangus Theophilus Mozart (1756–1791) was arguably the most gifted musician in the history of classical music. His inspiration is often described as 'divine', but he worked assiduously, not only to become the great composer he was, but also a conductor, virtuoso pianist, organist and violinist.

Mozart's music embraces opera, symphony, concerto, chamber, choral, instrumental and vocal music, revealing an astonishing number of imperishable masterpieces. Mozart was born in Salzburg, in 1756. Mozart's father, Leopold, was an ambitious composer and violinist. Though he was and still is considered a genius, he was also tactless, arrogant and had a scatological sense of humour. Mozart composed his first opera, Apollo et Hyacinthus when he was only 11. A year later the Emperor Joseph II commissioned him to write La finta semplice. In August 1782 he married Constanze Weber. The Mozarts' marriage seemed to be a happy one. Constanze was easy-going, free-spending and usually pregnant. Only two of their six children survived. Post-marriage, some of Mozart's best started to appear -the Haffner and Linz symphonies and five string quartets, for example. Between 1784 and 1786, he composed nine piano concertos and three of these concurrently with The Marriage of Figaro.

The year 1787 saw the premiere of Mozart's second opera, Don Giovanni. Mozart had a great run of successes in his final years - Eine Kleine Nachtmusik and the Clarinet Quintet in A, three of his 41 symphonies; Cosí fan Tutte, three piano trios, the Coronation piano concerto, two piano sonatas and three string quartets. His health began to fail and his work rate slowed in 1790. He got better, though, and in 1791 alone composed the most famous The Magic Flute, the Requiem (unfinished), and the Clarinet Concerto. Mozart did not live long enough to complete his Requiem. He died in Vienna, in 1791, before his 36th birthday.

Question: How many symphonies did Mozart write?
Answer: 41